Color Correction Q&A
The question from greg who says how does one delete user created color correction presets how do you delete? User created color corrected presets that's what I was doing what I was asking you that tad tread water forming a select a clip. Go to the inspector now remember the hook. Pierrot is the reset, so if under color you click the reset arrow, it automatically resets the entire filter. Notice that this rightward pointing arrow goes gray when you click the right point in their own. Let me just make a big color change here and go back again. Notice that whenever there is a color change, this rightward pointing arrow now has a color associated with it. If you need to color cry. If you need to reset the entire color filter, then you click that go back button. If you need to reset just a particular color setting, you click just the hook eero for that color setting toe. Add multiple corrections to the same clip you click the plus key. So, for instance, here I could do a global correction t...
o change the green cast of the clip to skin tone. And then I could change the blue bicycle seat to read and then I could change maybe her pink shorts to green by adding multiple corrections to remove a single correction highlight the correction hit the delete key you always have to have one correction but the correction need not be applied and if that arrow is a right pointing gray arrow then there's no color correction that's been applied to that clip next question can you say this is from sky can you save grade for future clips also can you do a global grade on a master clip? Uh yes to the master well, make sure um no, I can do I can do things like analyzed the clip but I can't do a color great now that video let me just do one experiment here oh, that's the wrong folder. No wonder oh, larry, pay attention, joe I was so distracted by the brilliance of that question that I just my brain had just shot down. There we go. Okay? This is a piece of media that is er devi format on let's. Just see if I can find dr surf there it is. No, it looks like I can color grade a master clip when it's part of the multi cam clip and I can call a greater clip when it's inside the timeline but I cannot color greater clip when it is on ly in the browser so the answer is no too color grating a master clip can I save presets? All right, let's just think about that for a second. The answer is I think the answer is no, oh, yes, I lied market. The answer is yes, and the way it works is when you are inside the color correction notice I've clicked the rightward pointing arrow in the bottom there's a pop up menu, the pop up menu allows you to set a preset, which is a combination of color, saturation and exposure. You can then save that preset there's a whole bunch of existing pre sets that are already there. You can save that pre set and then recall that so let's say that you wanted to color correct all three of these clips, but they're different times of the timeline correct it the first time, save it it's a pre set and then you could then apply that precept we'll just set alien lab here on notice here will set this one to be alien lab and we now have thie each of these clips now has the same look and feel so the answer is yes, you can save presets and no, you can't create master clips unless it's in a multi cam clip. What else we got so also would like to know why do they? I'm not sure who they is always say to decrease saturation and exposure while shooting with a dslr and re compensate it while doing color correction because they're on drugs I can't think of a reason a decreasing exposure and slightly under exposing an image is a good idea because you want to avoid having stuff blow out if possible. I can't think of a single good reason to decrease saturation because it's much better to record too much saturation and pull it out later try to add saturation. It doesn't exist later. Hang on, we checked with an expert ed, can you think of any reasons why you'd wanted undershoot and under chroma? I think I think what you're talking about a shooting flat there's, another technicolor presets for like a dslr like cannon? Yeah, but shooting flatter, shooting ross entirely different. I mean, I could see under exposing, but I can't see decreasing the chroma saturation just shooting a flat, raw image makes sense. I can see that, right, but I think that's what they're after they're they're probably referencing is shooting too flat, so if you're shooting of hd image, then shoot it so it looks really good because it's easy to remove color if, on the other hand, you're shooting a raw image. When you look at a raw image, it looks kind of washed out. It looks kind of de saturated because the color space that raw uses is a different color space than the rec seven or nine of hd so they're shooting raw gives you more latitude and post but requires a color grade to make sure the images look good but shooting raw is not the same thing is decreasing the color during the shoot, right? And the other thing to notice what you're trying to do trying to do basically if you want to protect the heist, you don't blow it out, you know I don't want to crush the blacks too much you want to be in there somewhere in between so that's that's I always say get it right in camera just do your darnedest to get it lit, right? If you possibly can and get it right in camera, just make sure that you're not going over because we know that like you say they camera shoot super white and we don't want to just go over the top so we have nothing teo correct to on then don't crush the blacks too much because we can always push those down pretty well. There's a new style of shooting, which dolby is now pushing called high dynamic range video and what high dynamic range does this instead of giving us safe five stops of latitude, it gives us twelve to thirteen and I've had a chance to see some technical demos of what that looks like, and it gives us some amazing look for even low resolution high definition video so uh, I think there's a lot of opportunity for shooting rock because this much more control over dynamic range, but you have to allow time to have a color grade on that. I was just going to add, maybe he's thinking, like, you know, the black magic, new cameras, the pocket camera, they shoot this very flat thing that maybe ed's talking about with the idea of later having a color correction come back in and an increased saturation or increased the as you're showing the blacks and the and the whites. And so, like I was saying, there's, a suna style, uh, type profile for deal solares that kind of accomplishes that so could entirely be good point. Jim, what else we got? All right, larry. One last question before we move on, cliff cheney would like to know do european broadcast stations require different color grading standards? No. Rex, seven or nine is the same around the world. Now there is a difference between ntsc and pal. So if you're taking a standard definition signal and you're grating it for ntsc or you're grating of for pal, those do have different color standards. But the cool thing is when you look at the vector scope, the vector scope targets will change based upon whether it's in ntsc image or whether it's a pal image. So remember that general guideline that I gave you, saying, if you connect the tops of all the targets to create a six sided shape, you still connect the tops of the targets, but the shape is slightly different between ntsc and pal at hd, but still stay inside the boundaries of connecting the tops of those targets again. There's a little bit more latitude in the mid tones ah, lot less latitude as you get towards pure white and pure black, but the general targets are a good place to stay within for most color grating as you're starting to develop what works and what doesn't in terms of raw images, raw has an entirely different, entirely different color speck in there that's a longer discussion we have time for so the answer is gray scale is always the same worldwide, all standards, the way for monitor doesn't change what does changes, what is over saturated color and where our colors located and there the vector scope will shift based upon whether you're looking at something in ntsc, which is north america pal, which is most of the rest of the world and high definition.
AFTER THIS CLASS YOU’LL BE ABLE TO:
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Apple® Final Cut Pro® X has been rocking the film editing world since its initial release in 1999. Today, eleven upgrades later, the video editor's users number in the millions and its editing tools have powered major motion picture and small screen edits. Join Larry Jordan to learn what makes this video editing software so powerful, versatile, and indispensable.
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Apple Final Cut Pro X (10.1)
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Larry Jordan is an internationally-renowned consultant, digital media analyst, and trainer with over 35 years experience as a television producer, director and editor with national broadcast and corporate credits. He is recognized as the foremost trainer in both Apple® Final Cut Pro® (Mac) and Adobe Premiere Pro (Mac and Windows) where his informative and entertaining teaching style provides video editors around the world with unique resources to increase productivity and enhance their skills. Jordan is on the faculty at both USC and Video Symphony, and the host of the DigitalProductionBuzz.com weekly podcast.